Classical Music

Classical Music

Music friends, that’s how trumpet player Jan van Duikeren puts his relationship to drummer John Engels. Inspired by their friendship, Jan started writing tunes for John and asked him for his favorite compositions to record. Their chemistry lead to the establishment of the quartet JvD4 in 2015 and to the recording of Dear John. Even before the recording of Dear john started in June 2015, the quartet was invited to play at Tokyo Jazz festival and some other Japanese venues. Both Jan and John love Jan. Jan performs in Japan almost every year, with Candy Dulfer, Trijntje Oosterhuis or Jazzinvaders. John, who turned 80 this year, experienced one of this career highlights in Japan in 1987, when he recorded a live record with Chet Baker.

DHD presents a very energetic show loaded with improvisation, joy, and a lot of groove. The group is in constant search for that distinctive sound that reflects the depth of Afro-Cuban rhythms as well as the beauty of the harmonies and colors that come from jazz. All this constitutes a mix of flavors and experiences with which they try to transport the listener to a supernatural dimension. Their repertoire consists mostly out of original compositions, but also a few Jazz and Latin classics which they arrange in their own way. Established in 2015, the band has appeared at the prestigious North Sea Jazz Festival and has toured around Spain and the Netherlands. In March 2018 the band won the jury award and the public prize at the Leiden Jazz Award 2018 and the best soloist prize at the Erasmus Jazz competition. The group writes: "With this album, we are trying to expand the boundaries of Latin jazz by using influences like modern jazz, odd meters and classical music. The compositions tell a broad storyline, and they take the listener on a journey where playful melodies come and go. We like to use rhythm and polyrhythms to play with the listener's ear, and to express our interpretation of the music. Abriendo Camino means opening the path or leading the way in Spanish. This album represents the break of a new force, a strong one, full of colors, joy, and love..."

"Avalon is inspired by an ancient Celtic myth of an island in dense fog where the Holy Grail is said to be located, King Arthur is buried and where Excalibur is hidden. I use it as a metaphor for the present time in which we live in which it is not clear to anyone what the world will look like after the pandemic. The single Avalon is a dreamy piece of music that is also used for the exhibition in de Fundatie that will run until the spring of 2021." (Yuri Honing)

"Every time I listen to the very first tones of Afterglow, I get struck immediately, as if by a force of nature. Suddenly, I am part of a natural phenomenon, that manifests right in front of me. At that very moment, everything else in the world doesn't seem to matter that much. There's only you and the musical synergy of two masterminds, who put their hearts and souls in every detail of their private conversation. Exactly the same feeling hit me over and over, when audio engineer Floren Van Stichel and I were part of the creation of Afterglow, in September2018. The sheer beauty of the music by Enrico Pieranunzi and Bert Joris was present at every single moment. The only thing Floren and I had to do was listen. We simply guarded the entire process. While performing together, Enrico once said: "Sometimes, the moment you don't play adds more significance to the things you do play". The same thing applies to being a producer. Being present was just enough. Nature took it's course and Afterglow saw the light of day." (Jasper Somsen)

Classical Music

After more than 30 concerts and many excellent reviews about their first trio albums Tales From The Unexpected and ""European Trio"", the Italian pianist Enrico Pieranunzi and the Dutch double bassist Jasper Somsen recorded their third trio album with the Catalan drummer Jorge Rossy: Common View. The new album is an equal and refreshing collaboration featuring these three masters both as performing artists and composers. Three totally different lives, characters, and backgrounds collide as one Common View.

Enrico Pieranunzi has long been one of the best-known and appreciated personalities on the European jazz scene. Pianist, composer, arranger, he has recorded more than seventy albums under his own name, ranging from solo piano to trio, and from duet to quintet. He has played in concert and in the studio with Chet Baker, Lee Konitz, Marc Johnson, Joey Baron, Paul Motian, Chris Potter, and Charlie Haden, performing at all the most important international festivals, from Montreal to Copenhagen, from Berlin to Madrid.

Pieranunzi's formative years embraced both classical and jazz piano, and the influence of Debussy is readily apparent in the lush romanticism at the heart of his music. Emerging in the early '70s, Pieranunzi's lyrical approach quickly brought him to the forefront of the European scene, and in 1984 he formed a trio with Marc Johnson and Joey baron, the first of several outstanding groups with American musicians. In 1989, 2003 and 2008 he was voted Musician of the Year in the Italian magazine Musica Jazz critic's poll and he was 1997 recipient of the Django d'Or Award for best European Jazz Musician. In the recent years Pieranunzi performed and recorded frequently in the United States.

REVIEW:

Cultivating language, omitting the unnecessary, letting silence have its say, all this gives the other person room for meaningful nuances. Two congenial partners stand equally at Pieranunzi's side. On the one hand, there is the Dutch bassist Jasper Somsen with his preference for poetically floating tones, and on the other hand the almost inconspicuously acting drummer Jorge Rossy, who forms filigree rhythmic figures.

-- Jazzpodium

The paths of Eric Ineke and Tineke Postma crossed several times the recent years. The time was there for an album together. The Charlie Parker centennial was the right moment to make it happen, the man who helped to define the bebop. According to Eric Ineke would never have been an Eric Ineke JazzXpress if it wasn't for Charlie "Bird" Parker. On What Kinda Bird is This? the listener gets known and lesser known material by Charlie Parker, complimented two pieces based on work by Charlie Parker, from the hand of Marius Beets.

The relentless Bluebeard now has a soundtrack thanks to Dutch saxophone pride Yuri Honing. Yuri Honing dedicated his new album to the gruesome heritage of Bluebeard, title character of the 17thcentury French fairytale. The duke with the seven wives symbolizes other historic European figures. For example, Pablo Picasso, who conquered women and loved them, but also destroyed them; all these phases inspired his art. A sonnet by the first female Pullitzer Prize winner, Edna Millay, a variation on the fairytale, forms the basis of the album Bluebeard. With his Acoustic Quartet, Yuri Honing has been celebrating international success for many years. As with his previous album Goldbrun, the release of Bluebeard will be followed by an exhibition at Museum de Fundatie in Zwolle, a 'Gesamtkunstwerk' of paintings, sculptures and music in collaboration with painter Mariecke van derLinden. Honing's awards include three Edisons and the Boy Edgar Prijs 2012, and he has worked with countless greats such as Pat Metheny, CharlieHaden, Kurt Rosenwinkel, Paul Bley and Craig Taborn.

This release is the fourth album in the ten-part series “Songs inspired by wandering the globe,” a series based on Mike del Ferro’s worldwide travels. Neapolitan songs, particularly arias by Puccini and Verdi are meshed together with jazz, blues, and Afro-Cuban rhythms to create a truly unique soundscape. Pianist Mike del Ferro is an internationally renowned artist. He has appeared in 116 countries across the globe, with performances varying from solo recitals to contemporary crossovers. Ferro is joined here by guest singer, US born Claron McFadden. Her highly distinctive voice allows her to flow effortlessly between classical and jazz, opera and concert, and traditional and modern repertoire.

For the first time on Challenge Records well-known Supertramp Saxofonist John Helliwell releases his brand new album with compositions of Peter Gabriel, Richard Davies, Andy Scott, Paolo Fresu and many more arranged by Andy Scott. John Helliwell is an English multi-instrumentalist known for his versatility and his on-stage presence. He got his start with The Alan Brown Set, with whom he began playing in 1966. He joined Supertramp in 1973. He has been featured on recordings by artists such as Pink Floyd, Jean-Jacques Goldman, and Diana Ross. On his solo release, he brings all of his experiences to the table to present an exciting lineup of music inspired by jazz, blues, rock, gospel, and funk.

Dr. Kristina Nikolic writes: "Even though I follow Don Menza whenever he is on tour in Europe and have witnessed the magic of his concerts countless times, never have I believed that recording an album could be such a relaxing, loving and seemingly effortless occasion. After a couple of weeks on the road, this quartet managed once again (in less than four hours) to preserve on tape what they had been doing together on the bandstand for many years: playing jazz that will touch any soul that is willing to listen. Together with Oliver Kent, Johannes Strasser and Bernd Reiter, all amazing musicians themselves, a self-confessed hopeless romantic Don Menza succeeded, with exceptional honesty, to record eight songs which reflect his beliefs. In this age of Jazz where the brain is often more important than the heart, this album stands out for it's ability to break your heart, make you laugh, make you feel cool, brave, to energize and inspire you."

Jean Michel Pilc had already planned on coming to Europe for concerts and master classes, and so a studio recording was arranged in the Netherlands. The result of both recordings is Parallel: a double album with two solo piano recordings, conceived in a completely new form, on both sides of the Atlantic Ocean. The album is a fascinating and exciting journey into Jean-Michel's realm of composed and improvised music that makes one want to listen to it over and over again. Jean-Michel writes: "Most people believe that growing up and aging goes hand in hand with gaining knowledge and wisdom. It may be comforting to think that life teaches you things and there is often something true about it. However, for me there is a parallel, deeper reality at work. The more I know, the more I have to unlearn. The music of this album- created in the last years, in two very different sessions with the invisible ink of improvisation- deals with this mysterious and constantly growing part of the unknown: create, forget, and recreate."

“I can’t begin to adequately express how excited I am to have our first official studio recording, THE BARI SESSION, finally released! Ever since the very first time John, Raimondo, Gianmarco and I played together back in 2008, I’ve loved this band and knew we had that “special chemistry” that truly makes a band: A BAND. However, since then, our only release thus far has been a double-album entitled LIVE UNDER ITALIAN SKIES that features performances from two live concerts in 2008 & 2012. Due to our extremely busy individual schedules, and the fact that the four of us live in three different countries on two different continents, we’ve never quite found the ideal time and opportunity to actually go into a recording studio to officially document our band’s sound, its chemistry, and some of the songs that have become part of our standard repertoire in live concerts. Well, THE BARI SESSION has now arrived and it beautifully showcases all of those things (as well as some new compositions), because in August of2019 we were able to find a small window of time to go in and record in a fantastic studio in Bari with a first-rate engineer during one of our Italian tours. I believe the result speaks for itself. We also had a really wonderful experience making this recording and the music just seemed to “play itself,” which is always a great sign that the music is “ready” and “cooked to perfection,” just like the best Italian dishes! Godetevi un buon ascolto!” (Paul Wertico)

Ivan Fischer makes his DNO debut. He conducts the Royal Concertgebouw Orchestra. Pierre Audi, artistic director of DNO and the Holland Festival, directs his firest new DNO production since Saint Francois d'Assise (2008). For Parsifal Audi once again joins forces with the British scultpr Anish Kapoor. Alejandro Marco-Buhrmester previously sang the role of Amfortas at the Opera National de Paris and the Bayreuther Festpiele. Kurt Rhdl made previous DNO appearances as Hagen/Hunding in Der Ring de sNibelungen and as Heinrich in Lohengrin. Kurt Rydl has been an honorary member of the Wiener Staatsoper since 1999. Falk Struckmann has frequently sung the role of Amfortas, but now makes his first DNO appearance in his role debut as Gurnemanz. The title role is sung by Christopher Ventris, who previously appeared at DNO as Steuermann in Der fliegende Hollander. Petra Lang previously sang Brangane in Tristan und Isolde and Venus in Tannhauser at DNO. ''There were no weak links in teh cast. Amfortas sounded suitably pained, very wobbly vibrato for it, but this very much worked. Gurnemanz was stoic and powerful. Klingsor was a rounded and full bass. Kundry has a truly bewitching voice, very powerful. Parsifal was definitely the stand out, always rising above the orchestra, his voice conveyed each emotion perfectly but was always perfectly clear and pure. Ivan Fischer's interpretation is calm, subdued, crystal clear, chamber-like. It is generally brisk, but extremely flexible, and follows Wagner's tempo changes to the letter. Nonetheless, one cannot help but be carried along with the waves of music, so that the final chords are absolutely overwhelming. The Concertgebouw, characteristically played stupendously. Beautiful phrasing, incredibly unity, and they just sound so incredibly beautiful. (Operalively.com)

All the compositions on this album are original works, created during a period of personal growth and artistic exploration. Each piece represents a chapter in a larger story - one that reflects not only my journey as a musician but also my evolving understanding of life, purpose, and meaning. The opening track, "Wu Wei," sets the tone. A central concept in Taoist philosophy, Wu Wei translates to "non-action" - not inaction, but effortless action, or moving with the flow of life rather than against it. As a musician, this idea resonates deeply: to be in harmony with your surroundings, to create without forcing, to live and express from a place of presence. "One" speaks to the longing for unity in a divided world. Despite conflict, disagreement, and disconnection, there is always a deeper thread that binds us together - a shared humanity that transcends our differences. "Home" represents the need for belonging, safety, and grounding. For some, home is a physical place; for others, it's something they must find or create. But for all of us, the feeling of home is essential to live a fulfilled life. "Reflections in the Water" is an introspective piece - a reminder of where we come from and who we are at our core. Influenced by classical and impressionistic traditions, it pays homage to the great composers who have shaped music history and continue to inspire me. "Seven Virtues, Seven Sins" explores the dualities of human nature - the push and pull between good and evil, right and wrong, light and shadow. It's a reflection on the moral questions we all face and the deeper quest for inner truth and balance. In "Samsara," the cyclic nature of existence is made audible: life, death, and rebirth - endlessly repeating. It reminds us that every end carries the seed of a new beginning. "Blues for Sadako" is a tribute to Sadako Sasaki, a young girl who became a symbol of peace after the atomic bombing of Hiroshima in 1945. Her story, and the thousands of paper cranes she folded, speak of hope, remembrance, and the resilience of the human spirit. This piece is dedicated to her and to all victims of war. The final track, "Healing," is a hymn for humanity. In times of pain and turmoil, sometimes what the world needs most is a moment of collective healing - a return to compassion, empathy, and wholeness. Throughout this album, I've tried to express something honest - something that reflects the complexity of being alive. We live in a world full of goals, distractions, and expectations. Often, we chase success or run from discomfort, forgetting to be present in the moment. But life is not a race to the finish line. It is a process of becoming, of unfolding - just like a flower grows, slowly and naturally, in it's own time. You cannot force growth. You cannot force mastery. The moment you think you've arrived, life will humble you. There is no final destination - only the ongoing path. Obstacles will come. Resistance will arise. But perhaps the key is not to fight or flee, but to accept - to let go, and to allow life to unfold. This is the essence of Wu Wei. To move in harmony with the world, to follow your inner voice, to grow in all directions like a tree, to live fully in the present - this is not just a philosophy, but a way of life. This album is an invitation to listen - not just to the music, but to yourself. - Aseo Friesacher

All the compositions on this album are original works, created during a period of personal growth and artistic exploration. Each piece represents a chapter in a larger story - one that reflects not only my journey as a musician but also my evolving understanding of life, purpose, and meaning. The opening track, "Wu Wei," sets the tone. A central concept in Taoist philosophy, Wu Wei translates to "non-action" - not inaction, but effortless action, or moving with the flow of life rather than against it. As a musician, this idea resonates deeply: to be in harmony with your surroundings, to create without forcing, to live and express from a place of presence. "One" speaks to the longing for unity in a divided world. Despite conflict, disagreement, and disconnection, there is always a deeper thread that binds us together - a shared humanity that transcends our differences. "Home" represents the need for belonging, safety, and grounding. For some, home is a physical place; for others, it's something they must find or create. But for all of us, the feeling of home is essential to live a fulfilled life. "Reflections in the Water" is an introspective piece - a reminder of where we come from and who we are at our core. Influenced by classical and impressionistic traditions, it pays homage to the great composers who have shaped music history and continue to inspire me. "Seven Virtues, Seven Sins" explores the dualities of human nature - the push and pull between good and evil, right and wrong, light and shadow. It's a reflection on the moral questions we all face and the deeper quest for inner truth and balance. In "Samsara," the cyclic nature of existence is made audible: life, death, and rebirth - endlessly repeating. It reminds us that every end carries the seed of a new beginning. "Blues for Sadako" is a tribute to Sadako Sasaki, a young girl who became a symbol of peace after the atomic bombing of Hiroshima in 1945. Her story, and the thousands of paper cranes she folded, speak of hope, remembrance, and the resilience of the human spirit. This piece is dedicated to her and to all victims of war. The final track, "Healing," is a hymn for humanity. In times of pain and turmoil, sometimes what the world needs most is a moment of collective healing - a return to compassion, empathy, and wholeness. Throughout this album, I've tried to express something honest - something that reflects the complexity of being alive. We live in a world full of goals, distractions, and expectations. Often, we chase success or run from discomfort, forgetting to be present in the moment. But life is not a race to the finish line. It is a process of becoming, of unfolding - just like a flower grows, slowly and naturally, in it's own time. You cannot force growth. You cannot force mastery. The moment you think you've arrived, life will humble you. There is no final destination - only the ongoing path. Obstacles will come. Resistance will arise. But perhaps the key is not to fight or flee, but to accept - to let go, and to allow life to unfold. This is the essence of Wu Wei. To move in harmony with the world, to follow your inner voice, to grow in all directions like a tree, to live fully in the present - this is not just a philosophy, but a way of life. This album is an invitation to listen - not just to the music, but to yourself. - Aseo Friesacher

Master drummer Stephane Galland (Aka Moon, The Rhythm Hunters, Ibrahim Maalouf...) presents Kanda, a fresh and polymorphous trio with Lucia Pires (Steps, Edoardo Cimino, Tomorrow's Warriors) on flute and EWI, and Louise van den Heuvel (Sonic Hug, Dishwasher_, Stephane Galland & The Rhythm Hunters) on electric bass, samples and effects. Kanda refers to many different concepts. In Sanskrit, the word means "chapter" and in South Indian music, Kanda Chapu is used to define a 5-beat cycle. In Thai, the word is a mark of affection for loved ones, and in Hatha Yoga texts, it refers to roots, both of plants and of the energy flows known as Nadis. With these branching spiritual meanings, it's no wonder that the project Kanda exists in many forms. It Is at once a purely acoustic trio with flute, bass and drums, and at other times more electronic with the addition of effects and keyboards to the bass and the use of the EWI (electronic wind instrument). The EWI can take over the role of the bass, while the bass plays the melodies and chords.  Kanda is energetic and rhythmic as well as fragile and atmospheric all at once. Rhythmic complexity is used to pave the way towards new territories of sensation and groove. From it's conception, the trio immediately started developing it's unique essence. With this project, master of rhythm Stephane Galland aims to explore a new direction in his ever-evolving quest for fresh musical adventures.

After the warm reception of their first collaborative album, pianist Bruno Bavota and vocalist/composer Chantal Acda felt a quiet but undeniable pull to continue the journey they had begun together. What started as a spontaneous musical dialogue has grown into a deeper partnership; one rooted in trust, intuition, and a shared devotion to the emotional core of sound. For this new chapter, the duo stepped into the studio together for the first time, choosing to shape the music side by side rather than far apart, as was the case with their first album. They invited legendary engineer Phill Brown, renowned for his work with Talk Talk, Mark Hollis and a constellation of other boundary-pushing artists, to help capture the fragility, space and raw honesty that define their collaboration. Brown's unmistakable sensitivity to atmosphere became an essential part of the album's sonic architecture. To expand their palette even further, Bavota and Acda opened the doors to a small circle of like-minded musicians whose voices naturally complement their own: Adam Wiltzie (A Winged Victory for the Sullen, Stars of the Lid), Gerd Van Mulders, Beatrijs de Klerck and Niels Van Heertum. Their contributions move gently through the record: brass, strings, textures and drones that never overwhelm, but instead illuminate the quiet spaces where Bavota and Acda's music breathes. The result is an album that feels both intimate and expansive, grounded in the delicate interplay of piano and voice yet broadened by the subtle orchestration surrounding them. It is a record about presence: two artists meeting in the same room, listening deeply and allowing others to join their conversation. Released by Challenge Records, the album Safer Places marks a meaningful evolution in Bavota and Acda's collaboration. An album that resonates with the beauty of connection, the weight of silence and the courage to let sound unfold in it's own time.

Pierre-Antoine Savoyat couldn't have found a better title for this second album! Thanks to his subtle way of contemplating and embellishing space and sound as a composer and as trumpet player, Thousand Shades of a Clown reveals personal and refreshing music with a kaleidoscopic imagination, effervescent with colours and emotions. The veil of the clown's mask gradually *fades away* to reveal the essence of his art: tenderness, generosity and humility. Much like a sleeping volcano, we enjoy a poetic quietness always bounded with a boiling energy underneath the surface. Sometimes, Pierre-Antoine allows us to witness an unannounced eruption, before returning to a feeling of deep peace through the beauty of a masterful sound. His characteristic kindness probably hides a passionate fire and his humanist commitments in search of truth are never far away; perhaps even constituting the lifeblood of this work in which the stories of his life untangle and detangle. His desire to make the world a more wonderful place is expressed through the poetry of lyrical musical gestures, supported and propelled with intensity by his faithful accomplice, pianist Simon Groppe, a true chameleon of the keyboard. Their surprising and precise articulations are extended with equal finesse by Fil Caporali on double bass and Oscar Georges on drums, forming a perfectly harmonized quartet. Between his solitude and the absurdity of the world, Savoyat has forged a masterful and compelling musical language, bringing with him guests with boundless imagination and crystal-clear ideas, true nuggets of pure gold like those old-time-alchemists dreamed of: Alexandra Grimal, with her majestic saxophone sound; Lucia Pires, with her light and dauntless flute; and Lynn Cassiers, captivating with her unique vocal and artistic universe. Therefore, the album takes on a plural form in a counterpoint of shared stories, styles and times without ever losing the coherence of a common discourse. Pierre-Antoine weaves the whole together with the care of a goldsmith and through his fluid and mysterious intonations - where the 'between' naturally becomes the 'inside' - he blossoms into space like a tightrope walker defying the laws of gravity. Each piece of music has it's own specific touch; the titles speak for themselves, sprinkled with melancholy and filled with warmth. Comforting like a refuge where you are always In good company - as in the lyrics of Lynn Cassiers - this album could even become one of those with which you live, breathe, and through which you open the windows of your inner universe to get closer to the light in a world that has become far too dark.

The Value of Choices is the long-awaited new work by composer, guitarist, and storyteller Gabriele di Franco-a project shaped by years of reflection, doubt, vision, and the courage to choose. Written for a remarkable ensemble of musicians whose personalities and sounds inspired every line of ink on the score, the album unfolds as a collection of narratives where jazz meets classical colors, folk sensibility, and contemporary imagination. Across eight compositions, di Franco explores how every decision-musical or personal-carries weight. Each piece opens a small universe: a dreaming fly, an ancient Sardinian chant reframed through a woman's eyes, a lullaby for two children, the heaviness of loss, the intimacy of doubt, the breath that becomes creation. Voices, improvisation, and orchestral textures weave into a sound world where emotion and craftsmanship coexist. The album features gripping solos, rich orchestrations, and collaborations with guest vocalists François Vaiana, Vanesa Diaz Gil, Lieselot de Wilde, and Federico Pecoraro. Through them, di Franco expands the ensemble's timbral palette, giving story and sound equal expressive force. At the heart of this project lies a simple yet profound idea: "In composition, as in life, every choice shapes meaning." Holding this record-whether physically or digitally-is already one such choice. And for di Franco, it means everything. The Value of Choices is dedicated to his family and to mentor Kris Defoort, whose guidance has deeply influenced the composer's artistic path. Alongside his work as a composer, di Franco has built an international profile in musical theatre, opera, and contemporary music. His works-acclaimed by prestigious competitions across Europe and Asia-reflect a passion for narrative, structure, and emotional honesty. His libretti and musical theatre works, including the award-winning LULELA, reveal an artist who moves fluidly between mediums while staying rooted in the poetic power of sound. With this album, Gabriele di Franco invites listeners into a space of reflection: a place where stories breathe, choices resonate, and music becomes a shared moment of meaning.

For Jakob's Mirror, composer and saxophonist Robin Verheyen (b. 1983) sought inspiration far from home, retreating to the Albers Foundation in Connecticut to reflect on the life and work of painter Jakob Smits (1855-1928). Smits, who settled in the Belgian Campine and captured it's light and landscapes in a personal, timeless style, became a guide for Verheyen's own exploration of identity, memory, and belonging. Rather than translating Smits' canvases literally, Verheyen immersed himself in their atmosphere, while also listening to the music of Smits' era, including Flemish folk songs-one of which briefly surfaces in the score. Written for the Goeyvaerts String Trio and percussionist Robin Schulkowsky, the work weaves together European harmonic traditions, jazz's rhythmic vitality, and echoes of Verheyen's roots in the Campine. Jakob's Mirror is both homage and self-portrait: a meditation on landscape, light, and the enduring pull of home.

Master drummer Stephane Galland (Aka Moon, The Rhythm Hunters, Ibrahim Maalouf...) presents Kanda, a fresh and polymorphous trio with Lucia Pires (Steps, Edoardo Cimino, Tomorrow's Warriors) on flute and EWI, and Louise van den Heuvel (Sonic Hug, Dishwasher_, Stephane Galland & The Rhythm Hunters) on electric bass, samples and effects. Kanda refers to many different concepts. In Sanskrit, the word means "chapter" and in South Indian music, Kanda Chapu is used to define a 5-beat cycle. In Thai, the word is a mark of affection for loved ones, and in Hatha Yoga texts, it refers to roots, both of plants and of the energy flows known as Nadis. With these branching spiritual meanings, it's no wonder that the project Kanda exists in many forms. It Is at once a purely acoustic trio with flute, bass and drums, and at other times more electronic with the addition of effects and keyboards to the bass and the use of the EWI (electronic wind instrument). The EWI can take over the role of the bass, while the bass plays the melodies and chords.  Kanda is energetic and rhythmic as well as fragile and atmospheric all at once. Rhythmic complexity is used to pave the way towards new territories of sensation and groove. From it's conception, the trio immediately started developing it's unique essence. With this project, master of rhythm Stephane Galland aims to explore a new direction in his ever-evolving quest for fresh musical adventures.

Tony Malaby, Jozef Dumoulin and Samuel Ber explore music made of flow, pulses, textures, angles, memory, rotations, distances, intentions, proliferations, territories, speeds, changes of scale, intervals. Their taste for playfulness pushes them to redefine the music at every moment.